HOME SLO

SEMPER VIVA

QVAM CREATA

SLO
MENU

Anna Stegmann (DE)

6.5.2026

EDUCATION

  • (2011) Conservatorium van Amsterdam (Paul Leenhouts / cum laude)

  • (2010) Musikakademie der Stadt Kassel (Winfried Michel / cum laude)

  • (2009) Conservatorium van Amsterdam (Paul Leenhouts)

  • (2007) Musikhochschule Münster (Winfried Michel / cum laude)

 

FOCUS (the most important from the last 4 years)

  • Historical performance practice, 15th and 16th century diminutions in the style of Silvestro Ganassi

  • Historical performance practice, early concerti for sixth flute from from 18th century London

  • Contemporary Music, repertoire for recorder solo and commissioning new works by living composers

 

CONCERTS (10 most important from the last 4 years)

  • (2026) Amsterdam, Network Oude Muziek / Festival Oude Muziek Utrecht 

  • (2026) Zwolle, Network Oude Muziek / Festival Oude Muziek Utrecht 

  • (2026) Den Bosch, Network Oude Muziek / Festival Oude Muziek Utrecht 

  • (2026) Utrecht, Network Oude Muziek / Festival Oude Muziek Utrecht 

  • (2026) Guildford, Hatchlands House / Cobbe Collection

  • (2026) Sydney, Customs House

  • (2025) Innsbruck, Musik+, Salzlager (duo Jorge Jiménez)

  • (2024) London, London International Festival for Early Music

  • (2023) Utrecht, Festival Oude Muziek Utrecht

  • (2023) Melbourne, Melbourne Recital Centre

 

PROJECTS (the most important from the last 4 years)

  • (2026) Silent Speech: 16th century diminutions in the Style of S. Ganassi with Corina Marti (Haslemere Festival)

 

RECORDINGS (the most important from the last 4 years)

  • (2026) AVOTROS / NPO Radio 4

  • (2024) Sparkly Light Productions

  • (2023) Early Music Television EMTV)

 

DISCOGRAPHY

  • (2025) Challenge Classics (Ensemble Odyssee: Original & Counterfeit)

  • (2024) Pan Classics (The Royal Wind Music: The Orpheus of Amsterdam)

  • (2022) GWK Records (Duo Stegmann & Jiménez: Lunaris)

  • (2021) GWK Records (Duo Stegmann & Jiménez: Lunaris

 

AFFILIATIONS

  • (2014-) Royal Academy of Music, London (professor)

  • (2011-) / Ensemble Odyssee Amsterdam (member, artistic director)

  • (2008-) The Royal Wind Music Amsterdam (recorder player, artistic board member)

 

COLLABORATIONS (the most important from the last 4 years)

  • (2026) L’Arpeggiata: La Calisto, Royal Birmingham Conservatoire, Salut Baroque 

  • (2025) Salut Baroque

  • (2024) Bachfest Münster 

  • (2023) L’Arpeggiata; L’Orfeo, Rotterdam Philarmonisch Orkest, Jordi Savall, Peter Dijkstra, Musica Sequenza Berlin, Musikhochschule Nürnberg

  • (2022) Musica Sequenza, Burak Özdemir

 

REVIEWS

  • By the end, it became clear that the star of this show was Anna Stegmann on recorder. In case it was not clear by then, it was certainly became obvious after in Fiorenza’s Concerto in F minor di flauto, 3 violin, violetta, violoncello e basso. This is a strange, almost idiomatic, composition. It is episodic, has wild turns of character and strange modulations. Apart from her evident dexterity in the faster movements, Stegmann’s prowess was on full display in the Largo, where she showcased the whole gamut of rhetorical expression on the recorder, from subtle vibrato and beyond. (Aryan Mohseni, State of the Art Media, 5.2.2026)

  • Soloist, and the evening’s undoubted MVP, was Anna Stegman, whose use of various recorders gave a vast array of effects and whose tone and delivery were flawless throughout. (Sarah Byrne, City News Canberra, 2.2.2026)

  • Recorder-player Anna Stegmann’s arrangement of BWV 1053, in E flat is well-suited to the fourth-flute, a recorder pitched in B flat. Her flexibility of tone and virtuosic passage work is exemplary in this delightful piece. (The Early Music Shop, October 2025)

  • Ensemble Odyssee’s own crisply perky readings then fit them like a glove, with Anna Stegmann herself equally on the button, dispatching the almost relentless recorder passagework with fluent ease. (Charlotte Gardner, Grammophone, December 2016)

  • In the playful ornamentation of the flute part, Anna Stegmann draws on Corelli’s violin sonatas, eliciting from her instrument a virtuosic flow of tones combined with a well-balanced ensemble sound: English concert music from the early 18th century, still strongly oriented towards Italian models, yet performed with vitality and virtuosity – a true little gem. (Bettina Winkler, SWR2, 28.10.2026)

  • The playing, the choice of music, and the imaginative video presentations are outstanding. The short length is ideal for these times for home viewing for those without the time or inclination for a full-length concert. (Andrew Benson-Wilson, Early Music Reviews+, 26.10.2020)

 

WEBSITE

 

FACEBOOK

 

VIDEO